"The sadistic industrial spurts of Atrax Morgue, are secretions of body fluids converted into noise stinging and nauseous and his work is an unhealthy, stinking container, with most depraved delusions that the human brain can give birth. The thirteen splinters of Esthetik Of A Corpse were recorded in spring 1995 and released on tape by Slaughter Production. The tracks on here are monolithic machines of industrial death that are portrayed in lovingly grating and rasping detail, with engines of soul rapine and pulsating, screaming contraptions eager to slice their way through soft flesh. The putrescence is tangible, and one could almost smell and taste the miasma of decay that pervades the entire vinyl. Remastered at Elettroformati in August 2012 with the permission of the Corbellis family. The record has been pressed on 140 gr black vinyl with black label and black inner sleeve (with inside polyethylene plastic) and comes in a deluxe silver silkscreen on black cardboard sleeve, limited to 99 copies w/insert in luxury 160 gr ivory paper." - Urashima.

"Atrax Morgue is anxious and psychotic side of the electronic noise. With the help of a analog synth, Marco blows up emotions and delusions, cutting out the hard way inspired portraits of phobias and deviations. Originally released on cassette under the title of ‘Nursery Crime in a special box limited to 50 copies and later reissued on cd-r in very few copies with the title ‘I vizi morbosi di una giovane infermiera, is one of the most introspective and deep Atrax Morgue s works. ‘A vision, a blaze of sweetness and understanding. Then you return into the mechanism and those extreme emotions are already vanished. I still surprise myself thinking about death. I need an impossible surgery operation. If illness is life, the cure is death. Injections of static death. from liner notes. Recorded winter 1999 at SweetSlaughter. Remastered spring 2012 at TwinOpera and reissue with the permission of the Corbellis family. The record has been pressed on 140 gr red vinyl with red cross label and transparent sleeve, limited to 99 copies w/insert in luxury 160 gr ivory paper." - Urashima.

“Atrax Morgue was the brainchild of Marco Corbelli (1970-2007), a sound project started in the early 90s with a focus on various areas related to the field of psychopathology, including murder, violent death, sadism, necrophilia, schizophrenia, and insanity. The primary influences came from projects such as Brighter Death Now and Whitehouse, pioneers of a minimal, evil, and visceral electronic music, and from the legendary Italian projects Mauthausen Orchestra and The Sodality. The main concern of Atrax Morgue was the analysis of the death -- its perfection and complete habituation. Injections of death to continue to live. Necro Box is a tribute to the degenerate art of Atrax Morgue, one of Italys greatest exponents of industrial music and power electronics. The first LP contains Necro-Sintesi, originally released as the A-side of a cassette split with Lunus on Corbellis Slaughter Productions in 1993. It consists of three tracks based on the death-cold analog drones that characterize the first Atrax Morgue productions. Deviant, anxious sounds that assault the listeners head like razor blades. The second LP is Necrophiliac Experience, originally released as the A-side of a second cassette split with Lunus on Slaughter Productions in 1994. The glacial atmosphere incorporates murder and necrophilia to form a macabre collage. Obsessions emerge on the track "Necrophiliac Experience 3," which reproduces the word "omicidio" ("homicide") in an exasperated loop, inciting in the listener a sense of deep distress and maniacal fear. The third and final LP contains Basic Autopsy Procedure, originally released as a cassette on Slaughter Productions in 1995. Cold sound for white aseptic operating rooms and corpses in pieces. No compromise, only death! Deluxe "constellation snow" cardboard box with silver silkscreened text, manufactured by Fedrigoni, producers of fine Italian papers. Contains three high-quality 140-gram white LPs pressed in Germany with all-white labels in all-white poly-lined inner sleeves, each in a deluxe jacket bearing new individual artwork and protected by a clear plastic sleeve; a CD containing all of the tracks on the LPs; and a 16-page A5 booklet with credits, replicas of the original cassette artwork, and more. All tracks remastered for this release. Limited edition of 199 hand-numbered copies.” - Urashima.

"Mindblowing double LP reissue of Maurizio Bianchis impossible-to-find 1980 cassette, "decomposed" in October 1980 using cacophonelectronics and dedicated to the physical attraction to Sylvia Simonelli (September 1980/June 1981). "The genesis of this work is incredible. In the office where I worked, I had found a stamp with COMPRESA (in English, included) written over it, and so I came to the starting point for a new experimental work. Erasing before the second, fourth, sixth and eighth letter, so I obtained the title CMRS, on the other hand by deleting the first, third, fifth and seventh letter, I obtained the title OPEA, and it fascinated me. I had recently bought a synth KORG MS20 and so I began to experiment with it, but having only one output jack, I had to connect it to an AKAI cassette recorder that had two inputs, so the inevitable consequence was a mono recording (something that was strictly maintained, but divided on two channels). The result that followed was a cassette format C-90, with very grim and voluptuous electronic sounds, and it was distributed only to a very few friends and followers. All this happened back in October 1980. Then this recording became virtually untraceable, until a few years ago when I was in contact with Vittore Baroni who wrote me that he had a recording that I had given him several years previously, precisely CMRS/OPEA! So this work of historical value will surely make a lot of my genuine fans happy" --Maurizio Bianchi, February 7, 2015. Originally issued as private C-90 cassette in about seven or eight copies, and distributed only to very close friends. Mastered with supervision by M.B., Milano, 2015. No changes of pitch were made in the mastering process." - Urashima.

"Urashima present a reissue of Bizarre Uproars Likainen Ehtoollinen, originally released on tape in 2008. Bizarre Uproar is a colossal phenomenon in Finnish harsh noise scene. Throughout the years, this artist has gradually taken the Bizarre Uproar concept to more and more extreme level. Wrapped in darkness, tight as second skin - Suffocating (like) latex mask. Likainen Ehtoollinen, originally released on Filth & Violence in 2008, is the purification in filth and violence, cleansed in flesh and blood that are shit and piss, enlightenment in everlasting ejaculation. New extremes in sonic bizarre domination. Pressed on 140 gram vinyl. Comes in a deluxe silver silkscreen on black cardboard sleeve with a black label and black inner sleeve. Includes double face insert. Edition of 199." - Urashima.

"Crash At Every Speed is the high signal feedback project of Texas noise legend Richard Ramirez started back in 2001. All of the work from the project is themed around car crashes and road accidents. Vehicular Manslaughter, the full-length work on vinyl, is forty minutes split on two sides. Ramirez alternates between interlocking seas of uniformed crackling static and bursts of off-pattern static-based noise, made with urgent jittering trails, distant, buried and churning radio, like harmonic squawking or baying pitches, and rapid lines of crackle and split stereo channel static. 140 gram black vinyl with black label and black inner sleeve; Comes in a deluxe silver silkscreen on black cardboard sleeve; Artwork of car crashes; Includes insert; Edition of 99 (hand-numbered)." - Urashima.

"It feels like Ive been writing about Dead Body Love for as long as I have been recording harsh noise. What else can be said? I cant express enough how much of an influence Italian harsh noise has had on my own personal works, but It also lets me and several peers investigate the techniques and styles of the 1990s harsh noise and the atmosphere that was created expressed from different regions of the world. The more I listen and revisit the material of 90s Japanese harsh noise, the 80s UK power electronics, and the celebrated rougher tendencies of 90s Americanoise, the Italian material and different projects flare up that dictate a powerful Coles Notes of harsh noise and how it can be deconstructed and eventually materialized into vivisected lines and layers of crumbling, throbbing, cracking and creaking sound. I always trail back to Mauthausen Orchestra and its insurmountable importance to abrasive sound and its developments, especially in sub sect harsh noise genres of the 2010s... Then you take the obsessions and the lines of moving sound and have them expressed by something like the fanatical Atrax Morgue. Fearsome concentration and jarring meditation on lines of warbling and predatory analog synth work portray something invariably real about the obsession acted out from the Italian project Atrax Morgue. A different display of penetrative and studied sound seethes from Atrax Morgue as now the listener and fan of Italian industrial and harsh noise is confronted with another genre defining sound that pits throbbing and rough synth against haunting and manic vocalizations, disturbing the listener with its undeniable dedicated concentration. The resulting split tape with material from Dead Body Love and Atrax Morgue isnt as black and white as one might think. Dead Body Love makes use of dark and rough early industrial-like lines and meld into the eventual crushing forces that he is known for. In the vein of Atrax Morgue, samples are also manipulated and drawn out for the listener reminding us of his more delay heavy work. Atrax Morgues material works with DBLs material almost seamlessly via further haunting and throbbing dark material, slowly churning and deconstructing into his own distinct sound of heavily concentrated focus and mania for singular sounds and how they can repeat, move and create total atmosphere." - Sam McKinlay.

"The intrinsic fandom tendency toward Eurotrash actress Edwige Fenech has possibly been one of the most encompassing examples of "obsession" translating into layers of pummeling abrasive sound, especially in the building block heyday of the heavier OVMN and Incapacitants inspired style of international contemporary, early 00s, harsh noise artists. Edwige Fenech - just the name sends the educated into a whirlwind of her cinematic stylizations, objectification, and glorious portrayal and generator of mandates for various Eurotrash genres: The inconceivable layered work with Rosalba Neri in The Seducers (1969); The awe inspiring bobbed haircut and mannerisms of Gently Before She Dies (1972); The sex worker apparel and curly blonde wig from Taxi Girl (1977); The slicked and pinned back hair and nylon worship of Dr. Jekyl Likes Them Hot (1979); The crew cut haircut and bare feet glimpses from Strip Nude For Your Killer (1975); The 70s wavy, curly hair and the stockings during the sultry couch scenes from Lover Boy (1975); The courtesan role intense leg worship and playful mannerisms of Giovannona Long Thigh (1973); The sun-tanning and fetish exercise programs of Vices In The Family (1975) acting alongside Susan Scott; The medieval maiden and mistress aesthetic of Ubalda All Naked And Warm (1972). Not unlike the pornography and the extreme lifestyle fascination of the 90s Americanoise, the interests continued to be deconstructed and melded into harsh noise as the conscious and studious harsh noise artists of the 00s continued to study the European cult film and its objectified actresses and fetish driven aspects. The experience is cumulative the more you watch, collect, and study the various genres that Edwige Fenech was featured in and that inspired the cumulative and layered aspects of the harsh noise project Edwige with the original line-up of Keith (Mania), Sam McKinlay (The Rita), and Dan Johansson (Sewer Election), and later Nolan Throop (Kakerlak) filling in for Keith on a 2008 American tour. Between the sets on the 2008 tour from The Rita, Sewer Election, Kakerlak, and Dog Holocaust, the 90s rough American style, harsh noise worship was palpable. Its only natural that a tape was generated as exemplary from the tour days of 2008. Comes on 140 gram vinyl; Comes in a deluxe silver silkscreen on black cardboard sleeve; Includes a black and white poster; Edition of 199 (hand-numbered)." - Urashima.

"Urashima present the first vinyl version of The Haterss Future Cheers, originally released on cassette in 1986. The Haters are a noise and conceptual art troupe from the United States. Founded in 1979, they are one of the earliest and most well-known acts in the modern noise scene. The group is primarily the work of the Hollywood, California-based musician, artist, writer, and film-maker GX Jupitter-Larsen, accompanied by a constantly changing line-up of other "members," usually local experimental musicians and artists in whatever town in which a Haters performance happens to take place. Future Cheers was an early astonishing cassette remastered and remixed for this reissue by GX in Los Angeles, 2016. "I destroy out of joy, not despair. I dont destroy out of anger. I destroy out of curiosity. I tear things apart to see what makes them tick. I want to take time apart to see what makes it tick-tock. I enjoy destroying everything because I enjoy leaving nothing un-destroyed. My noise acts as a kind of audio account or authentic evidence of this ceaseless, perpetual bittersweet happiness we call entropy." -- GX. Pressed on 140 gram black vinyl with a black label and a black inner sleeve. Comes in a deluxe silver silkscreen on a black cardboard sleeve with an original picture. Edition of 200." - Urashima.

"Few current noise artists have discovered the sonic qualities of scrap metal to the extent that Hal Hutchinson has with his "Factory of Metal Sound" aesthetic. Hutchinson employs a unique approach to collecting and layering his recordings of sheet metal, pipes, metal barrels, chains, and other metallic objects being shattered, pulled, and crushed. A cacophony of metal scraping clatter is transformed into something far more complex. The full length album Mangraft, recorded during two different sessions, delivers four tracks of immense noisescapes and blast of orchestrated machine shop annihilator. The oppressive scrap metal noise, sounds dense and detailed, with repetitive scraping tones, almost seems to take on an eerie accidental melodic quality. Layers of screeching, colliding, abrading and hammering junk metal, all rich in detail and coalescing into a colossus of acoustic sound over two sides of vinyl. 140 gram black vinyl with black label and black inner sleeve; Comes in a deluxe silver silkscreen on black cardboard sleeve; Artwork by Kristian Olsson; Includes insert; Edition of 99 (hand-numbered)." - Urashima.

"Lyoto Music was a terrific collaboration between Pietro Mazzocchin (The New Sadism, Observation Clinique, Swastika Kommando) and Pierpaolo Zoppo (Mauthausen Orchestra), which manifested itself as a unique cassette released in 1984 by Aquilifer Sodality. This first-ever reissue is mastered from the original master tape kindly provided by Andrea Cernotto with the full permission of Mazzocchin. "As far as I remember, Lyoto Music was one of the most appreciated items and possibly one of the best-sellers in the (Aquilifer) Sodality catalogue. The music was produced by Pietro using cassettes (one cassette?) recorded by Pierpaolo. A friend from that area recently brought to my mind a forgotten concert by the duo somewhere in Emilia, the only time Pierpaolo (and maybe Pietro too) played live. If memory doesnt betray me, I was the only person in the audience." - Andrea Cernotto (The Sodality), April 18, 2015" - Urashima.

"Reissue of the private LP, issued in an edition of 300 copies in 1982 and titled in original Mörder Unter Uns/Neuro Habitat , considered with Regel one of the Maurizio Bianchis most representative works , Neuro Habitat is finally reissued for the first time in vinyl and remastered under the supervision of the Milanese artist. Side A "Morder Unter Uns" made of puzzled motifs and effects is a dark, sinister mantra to oppressive musical experiences. The piece finishes in an industry of molecular, bloody like loops. Side B "Neuro Habitat" is much more abstract, including ghostly electronic harmonies, gloomy echoing noises and more...a very charged cerebral universe. Extreme drones and noises, abundant textural disturbances: M.B.s at his creative peak! The record has been pressed on 140 gr black vinyl with black label and black inner sleeve (with inside polyethylene plastic) and comes in a deluxe silver silkscreen on black cardboard sleeve with the same layout of original sleeve, limited to 199 copies w/insert in luxury 160 gr ivory paper and A4 text Entrance for a punishment by M.B (1982 circa). First 50 copies comes with 30x30 extra insert with artwork by Maurizio Bianchi." - Urashima.

"Reissue of the private LP, issued in an edition of 300 copies in 1982, considered one of the Maurizio Bianchis most representative works , Regel is finally reissued for the first time in vinyl and remastered under the supervision of the Milanese artist. The record consists of two untitled tracks. Mostly track one is made up of manipulated noises with some synthesizer or theremin phrases added for detail and contrast. The second track is a bit more focused, with less noise, more recognizable melodic content and less invasive loops. The music is unlinear and effortlessly multilayered and the sound focuses on texture rather than structure. Here you can see M.B.s early phase as a sick, cancerous organism eating itself out. The record has been pressed on 140 gr red vinyl with black label and black inner sleeve (with inside polyethylene plastic) and comes in a deluxe black silkscreen on red cardboard sleeve with the same layout of original sleeve, limited to 199 copies w/insert in luxury 160 gr ivory paper." - Urashima.

"Brutal & harsh tones that cut through the air with manic male agonizing screams moving into a lyrical attack… Bloodyminded, originally released in 1984 on the legendary Aquilifer Sodality in cassette, is the third official reissue of Mauthausen Orchestra on Urashima in Lp. Tracks remastered from the original tape. The record has been pressed on 140 gr black vinyl with black label and black inner sleeve (with inside polyethylene plastic) and comes in a deluxe silver silkscreen on black cardboard sleeve, limited to 199 copies w/insert in luxury 160 gr ivory paper. The release of Bloodyminded on Urashima was decided at the end of March directly with Pierpaolo Zoppo." - Urashima.

"One of the key figures of the Italian industrial scene, Pierpaolo Zoppo started releasing tapes of his Mauthausen Orchestra project on the astonishing Aquilifer Sodality label in 1982. Zoppo didnt leave much to the imagination with the titles of these early works. Sex. Death. Blood. Dealing with such topics as sexual violence, perversion, torture, and murder without sounding cheap and careless is not an easy task. Mauthausen Orchestras atmosphere, one of true debauchery and calculated sickness; and its raw recording procedures, authentic and true lo-fidelity, have yet to be matched. Mauthausen Orchestra remains one of the pioneering exploits from the incredibly macabre Italian industrial scene that began with Maurizio Bianchi and continued through Zoppos project, Sigillum S, The Sodality, and the later work of Atrax Morgue. Its hard to ignore how the extremity of the poetics from the Italian scene literally bleeds beyond art and into life for many of these artists. This box set contains first-time CD reissues of four challenging Mauthausen Orchestra noise decimations originally released on cassette in the early 1980s, fully remastered from the original tapes. Anal Perversions (1985) communicates a fierce nihilism that overflows into the undefined territory between sex and maniac desire, marking our brains and our skin; a single act of sensory rape that tries to deconstruct any rational particle that might approach the sound composition. Host Sodomy (1985) represents an unprecedented noise assault and spares no form of perversion, relinquishing any moral obligation in the pursuit. Bloodyminded (1984) offers one side of oppressive noise devolving into anguished vocal terror, and another, slightly more nuanced side, adhering to a similar schematic. If nothing else is doing it for you, try this at your own risk. 2nd Movement (1983) carries us, once again, into real rituals of a civilization without gods in a pure world of suffering. Infinite modulations toward a sky that has now disappeared and become locked in concrete. Each CD is housed in individual mini-LP gatefold sleeves with new art. Packaged in a hard black box with white lettering ink. Limited to 199 copies." - Urashima.

"Mauthausen Orchestras From Homicide to Slaughter, the original tape of which was recorded in 1982 and 83, is now reissued for the first time. Its one of a series of amazing tapes that Pierpaolo Zoppo released on Aquilifer Sodality in the early 80s. Tape after tape, Mauthausen Orchestra produced, in a few years, the backbone of what came to be known as an alienating and extremist style, made of metal nightmares and sonic torture often dilated, dissected, and extended to the limit of endurance. Conflict carries us, once again, as real rituals of a civilization without gods, in a pure world of suffering. Infinite modulations toward a sky that has now disappeared and become locked in concrete. A fierce nihilism that overflows into the undefined territory between mind and matter, marking the brain and skin. A single act of sensory rape in an effort to deconstruct any rational particle that approaches the sound composition. Mauthausen Orchestra was one of the most important musical projects of the Italian industrial scene and contributed to the birth of power electronics and harsh noise across the globe." - Urashima.

"Urashima present the first vinyl version of Mauthausen Orchestras Murderfuck, originally released on cassette in 1983. Tape after tape, Mauthausen Orchestra, aka Pierpaolo Zoppo, constituted in a few years, the backbone of what is known as an alienating and extremist style, made of metal nightmares and sonic torture, often dilated, dissected and extended up to the limit of endurance. Theyve become one of the most important musical projects of the Italian industrial scene and contributing to the birth of the power electronics and harsh noise across the globe. Murderfuck is brutal with harsh tones that cut through the air. This amazing reissue LP is a co-production between Officina Fonografica Italiana and Urashima. "Since 1982, the Mauthausen Orchestra, Pierpaolo Zoppo being the mastermind, have developed their brutal tendencies, reaching, by the last productions, the highest standards of sonic power. With Necrofellatio (UMA 101LP, 1983) begins the flirtation with the Aquilifer Sodality sexual impetus, and the M.O. support the sonorous stimulation offered by The Sodality with their elating power electronics mastery. Their complete devotion to extreme sexual pleasures makes their ultra-violent attacks the ultimate enjoyments." -- Amen magazine, September, 1985. Mastered from the original tape. Pressed on 140 gram black vinyl with a black label and a black inner sleeve. Comes in a deluxe silver silkscreen on a black cardboard sleeve. Edition of 200." - Urashima.

"Mauthausen Orchestras Necrofellatio, originally released as a cassette in 1983, is now reissued on vinyl for the first time. Its one of a series of amazing tapes that Pierpaolo Zoppo released on Aquilifer Sodality in the early 80s. Tape after tape, Mauthausen Orchestra produced, in a few years, the backbone of what came to be known as an alienating and extremist style, made of metal nightmares and sonic torture often dilated, dissected, and extended to the limit of endurance. Conflict carries us, once again, as real rituals of a civilization without gods, in a pure world of suffering. Infinite modulations toward a sky that has now disappeared and become locked in concrete. A fierce nihilism that overflows into the undefined territory between mind and matter, marking the brain and skin. A single act of sensory rape in an effort to deconstruct any rational particle that approaches the sound composition. Mauthausen Orchestra was one of the most important musical projects of the Italian industrial scene and contributed to the birth of power electronics and harsh noise across the globe." - Urashima.

"Mauthausen Orchestra remains one of the pioneering exploits from the early Italian industrial scene along with Maurizio Bianchi and Atrax Morgue. Pierpaolo Zoppo released tapes of his Mauthausen Orchestra project on the shocking Aquilifer Sodality label from 1982 to 1986. Zoppo didnt leave much to the imagination with the titles of these early works: Anal Perversions (1985), Murderfuck (1983) or Bloodyminded (1984), just to name a few. His releases carry the listener to real rituals of a civilization, without gods, in a pure world of suffering. Infinite modulations toward a sky that has now disappeared and become locked in concrete. His complete devotion to extreme sexual pleasures makes his ultraviolent attacks the ultimate enjoyments, relinquishing any moral obligation in the pursuit. Orgies Of Crime comes as twelve white cassettes with silver double body print in a white cardboard box set with deluxe silver silkscreen on Fedrigoni Constellation; Includes four inserts; Edition of 99 (hand-numbered). Orgies Of Crime includes the following twelve titles: 2nd Movement (1983), From Homicide To Slaughter, Conflict (1983), Muderfuck (1983), Bloodyminded (1984), Vernichtung Lebenunwerten Leben (1984), Necrofellatio (1983), Mafarka (1984), Dedicated To J. Goebbels (1983), They Never Learn! (1985), Anal Perversions (1985) and Host Sodomy (1986)." - Urashima.

"Urashima present the first vinyl version of Merzbows Lowest Music.2, originally recorded and released on cassette in 1982. Merzbow stands as the most important artist in noise music and is the moniker of Masami Akita, born in Tokyo in 1979. Inspired by dadaism and surrealism, Akita took the name for his project from German artist Kurt Schwitterss pre-war architectural assemblage "The Cathedral of Erotic Misery" or "Merzbau". Just as Schwitters attacked the entrenched artistic traditions of his time with his revolutionary avant-garde collages, so too would Akita challenge the contemporary concept of what is called music. Merzbow would draw further influence from the futurist movement. Not only would he embrace the futuristss love of technology and the machine civilization, he would push their fondness for noise to the very boundaries of the extreme. Working in his home, he quickly gained notoriety as a purveyor of a musical genre composed solely of pure, unadulterated noise. Consequently, in 1980 Masami founded the first noise label, Lowest Music and Arts. In this early period he released Lowest Music.2 on cassette using a 4 track reel tape recorder with different loops, recorded by a Mono-aural hand tape recorder. In 1990, Australian legendary label Extreme reissued a new version of the cassette, remixed by Masami Akita by itself and included it in an amazing 50 CD boxset titled Merzbox (2000). No changes of pitch were made in the mastering process. Pressed on 140 gram black vinyl with a black label and a black inner sleeve. Comes in a deluxe silver silkscreen on a black cardboard sleeve. Includes insert with original tape replica cover. Edition of 200." - Urashima.

"Urashima present a reissue of Merzbows Remblandt Assemblage, originally released on cassette in 1981. Merzbow, the moniker of Masami Akita (born in Tokyo in 1979), stands as the most important artists in noise music. Inspired by Dadaism and Surrealism, Akita took the name for his project from German artist Kurt Schwitterss pre-war architectural assemblage "The Cathedral of Erotic Misery" or "Merzbau". Just as Schwitters attacked the entrenched artistic traditions of his time with his revolutionary avant-garde collages, so too would Akita, challenging the contemporary concept of what is called music. Merzbow would draw further influence from the Futurist movement. Not only would he embrace the Futuristss love of technology and the machine civilization, but he would push their fondness for noise to the very boundaries of the extreme. Working in his home, he quickly gained notoriety as a purveyor of a musical genre composed solely of pure, unadulterated noise. Consequently, in 1980 Masami founded the first noise label, Lowest Music & Arts. Remblandt Assemblage was recorded and mixed at his home in the same year and originally released on cassette the following year on his own label. For the recording of this tape, Masami used a wide range of instruments: tapes, prepared acoustic guitar, tabla, junk percussion, microphone, radio, egg cutter and noise. This is the very first Merzbow album to use tape manipulations. Only a few copies were made and distributed on cassette in 1981, it was otherwise not widely available until being partially reissued on the legendary Merzbox in 2000. For the first time, the complete 1981 cassette version is released on double vinyl here. No changes of pitch were made in the mastering process; digitally remastered from original cassette master for this reissue by Masami Akita in Tokyo, 2016. 140 gram black vinyl with black label and black inner sleeve; Comes in a deluxe silver silkscreen on black three panels cardboard sleeve with artwork of five original collages by Masami Akita (circa 1980); Edition of 199." - Urashima.

"Urashima present a reissue of Mortal Visions Nacht Musik, originally released on cassette in 1982. Japanese noise legend Hiroshi Hasegawa started his improvisations with his voice and percussion in early 80s, and in 1989 he formed the amazing noise band and performance art act C.C.C.C. (Cosmic Coincidence Control Center) with the concept of improvisational mass-noise, with a very loud sound. He also started his solo unit Mortal Vision with guitar in 1990 and started Astro in 1993 with analog synthesizer. Since then, hes continued to spend decades exploring noises manifestations and new ways of enrapturing audiences with sound. Nacht Musik is the only work, along with a seven inch on Membrum Debile Propaganda, of his solo project Mortal Vision. Originally released on well-known tape label G.R.O.S.S. in 1992, the work presents two long tracks where the sounds of distorted guitar are shackled to multi-phasic curtains of blinding light, distorting, firing, and moving in great explosive arcs as they pan from speaker to speaker. Played at any kind of significant volume level, this stuff can peel the paint from the walls. 140 gram black vinyl with black label and black inner sleeve; Comes in a deluxe silver silkscreen on black cardboard sleeve; Includes insert; Edition of 99 (hand-numbered)." - Urashima.

"... From ephemera, from tulle and satin, The Rita has assembled a fantasy woman; a ballerina, a fairy, a sex worker - violently she is animated into existence as a sonic monolith dense and menacing as Richard Serras looming steel. With the double LP set The Lilac Fairy, The Rita reach an apex of fixation on the dancers body... The Lilac Fairy records the ritualized construction of a garment, The Lilac Fairy is a costume, a tutu empty of body altogether... The sanctity of ballet as elite aristocratic high art has always been a thinly-veiled facade for blatant eroticism, where women are interchangeable pieces of scenery arranged in colonnades for the pleasure of the male gaze. The Lilac Fairy herself was originally choreographed by Imperial Master Marius Petipa for his unskilled but beautiful daughter Marie as a mime part, but has been modified over the past century to become one of the most taxing characters in the female dancers repertoire... The Lilac Fairy is a ricochet between fabrication and obliteration, degradation and ritualized exaltation... Only within the noise does she ascend, within the inimitable walls of The Rita that choke every frequency, devour all and drown all, shatter every object. Everything is reduced to geometry, a cello attempts to accompany and is pulverized. Within the abstraction of harsh noise, The Rita simultaneously brings to life and annihilates the total fetish object, and in this performance of gestures she is elevated to the realm of non-objectivity, the Black Square of Malevich, Vessel and Void - pure. Listeners would be wise to note that Sam McKinlay has transcended the trope of the romanticized cult of genius surrounding solitary harsh noise, and The Rita is now half-woman, with the integral presence of Arlie Doyle as both the embodiment of the objectified form/performative feminine and collaborator in the sonic deconstruction of her own body. Additionally, The Lilac Fairy utilizes the contributions of several skilled craftspeople and musicians, with the tutu constructed by Katherine Hotmer and fittings to Doyles body performed by Rachel Hayward, Luke Tandys assiduous recording of the process of construction, and cello accompaniment by Leila Bordeuil. The sound that has made McKinlay a modern master of harsh noise remains intact, but the expansive critical and collaborative scope of The Lilac Fairy makes it a hallmark in the oeuvre of The Rita." - Kristin Hayter.

"Urashima present a reissue of Taints Strange Feeling, Shit Coming, originally released on tape in 1993. Taint, aka Keith Brewer under one of his many aliases, is known to be one of the most authoritative and pervert act in the power electronics scene. A kind of juiced-up, Taint creates a brutal stew of screaming high-end feedback, crushing distorted scrape and corrosive furious vocals, overlaid with sheets of white noise. Strange Feeling, Shit Coming was released on legendary Japanese tape label G.R.O.S.S. in 1993, showing Taint at his best - fucking brutal. Pressed on 140 gram vinyl. Comes in a deluxe silver silkscreen on black cardboard sleeve with a black label and black inner sleeve. Includes insert. Edition of 199." Urashima.

“First reissue, and first vinyl edition, of Listen and Die!, originally released as a six-cassette box in a limited edition of 100 by Marco Corbellis Slaughter Productions in 1997. Limited edition of 200 hand-numbered copies. Silver-silkscreened black cardboard box containing six 140-gram LPs with all-black labels in all-black inner sleeves, each in a deluxe jacket bearing individual artwork and protected by a clear plastic sleeve; a 16-page A5 booklet perfectly replicating the original booklet; two yellow sheets replicating the original cassette box cover; a luxury 160-gram A4 paper insert with new credits; and two exclusive photographs of Marco Corbelli from his familys archive. This rare collection of Italian and American power electronics features contributions from (in order of appearance) Iugula-Thor, Sshe Retina Stimulants, Atrax Morgue, Murder Corporation, Diktat, Discordance, Surgical Stainless Steel, Taint, Deathpile, Slogun, Skin Crime, and Bacillus. Four hours and 36 minutes of violent entertainment!” - Urashima.

"Urashima presents a compilation from Belgian artist Dirk Serriess pseudonym, Vidna Obmana, titled No Sacrifice. Dirk Serries has been a significant name in the ambient scene for more than two decades, releasing over more than 50 solo albums and involved in numerous collaborations. But apart from his main ambient colleagues, Vidna Obmana originates from the industrial cassette network scene in early eighties, releasing several tapes on his own label and on other labels. No Sacrifice has tracks from the infamous tape released in 1985 on Zeal SS, No Sacrifice For Weakling, and a bonus track from the same period. One of the most violent and aggressive sonic assaults ever hear from this Belgian artist. Pressed on 140 gram vinyl. Comes in a deluxe silver silkscreen on black cardboard sleeve with a black label and black inner sleeve. Includes insert. Edition of 199." - Urashima.

"Werewolf Jerusalem is the side project of Richard Ramirez (Black Leather Jesus). A study in static textures and crackling wall noise. A project initially influenced by the work of Chop Shop.
The LP comes in a deluxe silver silk screen on black cardboard sleeve, limited to 114 hand numbered copies." - Urashima. New Sub-label of Die Schachtel.